Hungarian classical music has long been an "experiment, made from Hungarian antedecents and on Hungarian soil, to create a conscious musical culture [using the] musical world of the folk song",[4] although the Hungarian upper class has long had cultural and political connections with the rest of Europe, leading to an influx of European musical ideas, the rural peasants maintained their own traditions such that by the end of the 19th century Hungarian composers could draw on rural peasant music to (re)create a Hungarian classical style.[5] For example, Béla Bartók and Zoltán Kodály, two of Hungary's most famous composers, are known for using folk themes in their music. Bartók collected folk songs from across Central and Eastern Europe, including the Czech Republic, Poland, Romania and Slovakia, whilst Kodály was more interested in creating a distinctively Hungarian musical style.

During the era of Communist rule in Hungary (1949–1989) a Song Committee scoured and censored popular music for traces of subversion and ideological impurity, since then, however, the Hungarian music industry has begun to recover, producing successful performers in the fields of jazz such as trumpeter Rudolf Tomsits, pianist-composer Károly Binder and, in a modernized form of Hungarian folk, Ferenc Sebő and Márta Sebestyén. The three giants of Hungarian rock, Illés, Metró and Omega, remain very popular, especially Omega, which has followings in Germany and beyond as well as in Hungary. Older veteran underground bands such as Beatrice from the 1980s also remain popular.

Unlike most Western European peoples, the Hungarian people, Magyars, emerged from the intermingling of Finno-Ugric and Eastern Turkish peoples during the fifth to eighth centuries CE.[5] This makes the origins of their traditional music unique in Europe. According to author Simon Broughton, the composer and song collector Kodály identified songs that "apparently date back 2,500 years" in common with the Mari people of Russia;[6] and, as well as the Mari, the ethnomusicologistBruno Nettl indicates similarities in traditional Hungarian music with Mongolian and Native American musical styles.[7]Bence Szabolcsi, however, claims that the Finno-Ugric and Turkish-Mongolian elements are present but "cannot be attached to certain, definite national or linguistic groups". Nonetheless, Szabolcsi claims links between Hungarian musical traditions and those of the Mari, Kalmyk, Ostyak, northwest Chinese, Tatar, Vogul, Anatolian Turkish, Bashkirian, Mongol and Chuvash musics. These, he claims, are evidence that "Asian memories slumber in the depths of Hungarian folk music and that this folk music is the last Western link in the chain of ancient Eastern cultural relations".[5]

According to Szabolcsi, these 'Hungarian transpositions', along with "some melodic, rhythmical and ornamental peculiarities, clearly show on the map of Eurasia the movements of Turkish people from the East to the West",[5] the subsequent influence on neighboring countries' music is seen in the music of Slovakia, Poland, and, with intervals of the third or second, in the music of the Czech Republic. Hungarian and other Finno-Ugric musical traditions are also characterized by the use of an ABBA binary musical form, with Hungary itself especially known for the A A' A' A variant, where the B sections are the A sections transposed up or down a fifth (A').[7] Modern Hungarian folk music evolved in the 19th century, and is contrasted with previous styles through the use of arched melodic lines as opposed to the more archaic descending lines.[8]

The earliest documentation of Hungarian music dates from the introduction of Gregorian chant in the 11th century. By that time, Hungary had begun to enter the European cultural establishment with the country's conversion to Christianity and the musically important importation of plainsong, a form of Christian chant. Though Hungary's early religious musical history is relatively well documented, secular music remains mostly unknown, though it was apparently a common feature of community festivals and other events,[8] the earliest documented instrumentation in Hungary dates back to the whistle in 1222, the Koboz around 1237-1325,[9] the bugle in 1355, the fiddle in 1358, the bagpipe in 1402, the lute in 1427 and the trumpet in 1428. Thereafter the organ came to play a major role.[5]

The 16th century saw the rise of Transylvania (a region inhabited by Hungarians, never occupied by the Turks) as a center for Hungarian music, it also saw the first publication of music in Hungary, in Kraków. At this time Hungarian instrumental music was well known in Europe; the lutenist and composer Bálint Bakfark, for example, was famed as a virtuoso player. His compositions pioneered a new style of writing for the lute based on vocal polyphony, the lutenist brothers Melchior and Konrad Neusiedler were also noted, as was Stephan Monetarius, the author of an important early work in music theory, the Epithoma utriusque musices.[5]

During the 17th century, Hungary was divided into three parts: an area controlled by the Turks; an area controlled by the Habsburgs; and Transylvania. Historic songs declined in popularity and were replaced by lyrical poetry, whilst minstrels were replaced by court musicians. Many courts or households maintained large ensembles of musicians who played the trumpet, whistle, cimbalom, violin or bagpipes, some of these ensemble musicians were German, Polish, French or Italian; the court of Gábor Bethlen, Prince of Transylvania, included a Spanish guitarist. Little detail about the music played during this era survives, however.[5] Musical life in the areas controlled by the Ottoman Turks declined precipitously, with even the formerly widespread and entrenched plainsong style disappearing by the end of the 17th century, outside of the Ottoman area, however, plainsong flourished after the establishment of Protestant missions in around 1540, while a similarly styled form of folk song called verse chronicles also arose.[8]

During the 18th century, some of the students at colleges such as those in Sárospatak and Székelyudvarhely were minor nobles from rural areas who brought with them their regional styles of music. Whilst the choirs in these colleges adopted a more polyphonic style, the students' songbooks indicate a growth in the popularity of homophonic songs, their notation, however, was relatively crude and no extensive collection appeared until the publication of Ádám Pálóczi Horváth’s Ötödfélszáz Énekek in 1853. These songs indicate that during the mid to late 18th century the previous Hungarian song styles died out and musicians looked more to other (Western) European styles for influence.

The 18th century also saw the rise of verbunkos, a form of music initially used by army recruiters. Like much Hungarian music of the time, melody was treated as more important than lyrics, although this balance changed as verbunkos became more established.[5]

Hungarian folk music changed greatly beginning in the 19th century, evolving into a new style that had little in common with the music that came before it. Modern Hungarian music was characterized by an "arched melodic line, strict composition, long phrases and extended register", in contrast to the older styles which always utilize a "descending melodic line".[8]

Modern Hungarian folk music was first recorded in 1895 by Béla Vikár, setting the stage for the pioneering work of Béla Bartók, Zoltán Kodály and László Lajtha in musicological collecting. Modern Hungarian folk music began its history with the Habsburg Empire in the 18th century, when central European influences became paramount, including a "regular metric structure for dancing and marching instead of the free speech rhythms of the old style. Folk music at that time consisting of village bagpipers who were replaced by string-based orchestras of the Gypsy, or Roma people.[3]

In the 19th century, Roma orchestras became very well known throughout Europe, and were frequently thought of as the primary musical heritage of Hungary, as in Franz Liszt's Hungarian Dances and Rhapsodies, which used Hungarian Roma music as representative of Hungarian folk music[10] Hungarian Romani music is often represented as the only music of the Roma, though multiple forms of Roma music are common throughout Europe and are often dissimilar to Hungarian forms; in the Hungarian language, 19th-century folk styles like the csardas and the verbunkos, are collectively referred to as cigányzene, which translates literally as Gypsy music.[11]

Hungarian nationalist composers, like Bartók, rejected the conflation of Hungarian and Roma music, studying the rural peasant songs of Hungary which, according to music historian Bruno Nettl, "has little in common with" Roma music,[7] a position that is held to by some modern writers, such as the Hungarian author Bálint Sárosi.[11] Simon Broughton, however, has claimed that Roma music is "no less Hungarian and... has more in common with peasant music than the folklorists like to admit",[3] and authors Marian Cotton and Adelaide Bradburn claimed that Hungarian-Roma music was "perhaps... originally Hungarian in character, but (the Roma have made so many changes that) it is difficult to tell what is Hungarian and what is" the authentic music of the Roma.[12]

The ethnic Csángó Hungarians of Moldavia's Seret Valley have moved in large numbers to Budapest, and become a staple of the local folk scene with their distinctive instrumentation using flutes, fiddles, drums and the lute.[3]

Prominent folk ensembles, such as the Hungaria Folk Orchestra, the Danube Folk Ensemble and the Hungarian State Folk Ensemble have regular performances in Budapest and are a popular attraction for visitors.

In the 19th century, verbunkos was the most popular style in Hungary, this consisted of a slow dance followed by a faster dance; this dichotomy, between the slower and faster dances, has been seen as the "two contrasting aspects of the Hungarian character".[3] The rhythmic patterns and embellishments of the verbunkos are distinctively Hungarian in nature, and draw heavily upon the folk music composed in the early part of the century by Antal Csermak, Ferdinand Kauer, Janos Lavotta and others.[8]

Verbunkos was originally played at recruitment ceremonies to convince young men to join the army, and was performed, as in so much of Hungarian music, by Roma bands. One verbunkos tune, the "Rákóczi March" became a march that was a prominent part of compositions by both Liszt and Hector Berlioz, the 18th-century origins of verbunkos are not well known, but probably include old dances like the swine-herd dance and the Hajduk dance, as well as elements of Balkan, Slavic and Levantine music, and the cultured music of Italy and Vienna, all filtered through the Roma performers. Verbunkos became wildly popular, not just among the poor peasantry, but also among the upper-class aristocratics, who saw verbunkos as the authentic music of the Hungarian nation. Characteristics of verbunkos include the bokázó (clicking of heels) cadence-pattern, the use of the interval of the augmented second, garlands of triplets, widely arched, free melodies without words, and alternately swift and slow tempi. By the end of the 18th century, verbunkos was in use in opera, chamber and piano music, and in song literature, and was regarded as "the continuation, the resurrection of ancient Hungarian dance and music, and its success signified the triumph of the people's art".[5]

Though the Roma are primarily known as the performers of Hungarian styles like verbunkos, they have their own form of folk music that is largely without instrumentation, in spite of their reputation in that field outside of the Roma community. Roma music tends to take on characteristics of whatever music the people are around, however, embellished with "twists and turns, trills and runs", making a very new, and distinctively Roma style. Though without instruments, Roma folk musicians use sticks, tapped on the ground, rhythmic grunts and a technique called oral-bassing which vocally imitates the sound of instruments, some modern Roma musicians, like Ando Drom, Romano Drom, Romani Rota and Kalyi Jag have added modern instruments like guitars to the Roma style, while Gyula Babos' Project Romani has used elements of avant-garde jazz.[3]

Ethnic Hungarians live in parts of the Czech Republic, Poland, Romania, Slovakia, Serbia, Slovakia, the United States and elsewhere. Of these, the Hungarian population of Romania (both in the region of Transylvania and among the Csángó people) - being the more rural, outer rims of the kingdom of Hungary - has had the most musical impact on Hungarian folk music, the Hungarian community in Slovakia has produced the rootsy band Ghymes, who play in the táncház tradition.[15] The Serbian region of Vojvodina is home to a large Hungarian minority

Transylvanian folk music remains vital part of life in modern Transylvania. Bartók and Kodály found Transylvania to be a fertile area for folk song collecting. Folk bands are usually a string trio, consisting of a violin, viola and double bass, occasionally with a cimbalom; the first violin, or primás, plays the melody, with the others accompanying and providing the rhythm.[3] Transylvania is also the original home of the táncház tradition, which has since spread throughout Hungary.

Táncház (literally "dance house") is a dance music movement which first appeared in the 1970s as a reaction against state-supported homogenized and sanitized folk music. They have been described as a "cross between a barn dance and folk club", and generally begin with a slow tempo verbunkos (recruiting dance), followed by swifter csárdás dances. Csárdás is a very popular Hungarian folk dance that comes in many regional varieties, and is characterized by changes in tempo. Táncház began with the folk song collecting of musicians like Béla Halmos and Ferenc Sebő, who collected rural instrumental and dance music for popular, urban consumption, along with the dance collectors György Martin and Sándor Timár. The most important rural source of these songs was Transylvania, which is actually in Romania but has a large ethnic Hungarian minority, the instrumentation of these bands, based on Transylvanian and sometimes the southern Slovak Hungarian communities, included a fiddle on lead with violin, a kontra (a 3-string viola also called a brácsa), and bowed double bass, and sometimes a cimbalom as well.[3]

Hungary's most important contribution to the worldwide field of European classical music is probably Franz Liszt,[12] a renowned pianist in his own time and a well-regarded composer of 19 Hungarian Rhapsodies and a number of symphonic poems such as Les préludes. Liszt was among the major composers during the late 19th century, a time when modern Hungarian classical music was in its formative stage. Along with Liszt and his French Romantic tendencies, Ferenc Erkel's Italian and French-style operas, with Hungarian words, and Mihály Mosonyi's German classical style, helped set the stage for future music, and their influence is "unsurpassed even by their successors, because in addition to their individual abilities they bring about an unprecedented artistic intensification of the Romantic musical idiom, which is practically consumed by this extreme passion".[16] Elements of Hungarian folk music, especially verbunkos, became an important elements of many composers, both Hungarians like Kalman Simonffy and foreign composers like Ludwig van Beethoven.[8]

Pozsony produced the first music drama experiments in the country, though the work of Gáspár Pacha and József Chudy; it was the latter's 1793 Prince Pikkó and Jutka Perzsi that is generally considered the first opera in a distinctively Hungarian style. The text of that piece was translated from Prinz Schnudi und Prinzessin Evakathel by Philipp Hafner. This style was still strongly informed by the Viennese Zauberposse style of comedic play, and remained thus throughout the 19th century. Though these operas used foreign styles, the "idyllic, lyric and heroic" parts of the story were always based on verbunkos, which was becoming a symbol of the Hungarian nation during this time,[3] it was not until the middle of the 19th century that Ferenc Erkel wrote the first Hungarian language opera, using French and Italian models, thus launching the field of Hungarian opera.[14]

At the end of the 19th century, Hungarian music was dominated by compositions in the German classical style, while Viennese-style operettas gained immensely in popularity, this ended beginning in about 1905, when Endre Ady's poems were published, composer Béla Bartók was published for the first time, and Zoltán Kodály began collecting folk songs. Bartók and Kodály were two exceptional composers who created a distinctively Hungarian style. Bartók collected songs across Eastern Europe, though much of his activity was in Hungary, and he used their elements in his music, he was interested in all forms of folk music, while Kodály was more specifically Hungarian in his outlook. In contrast to previous composers who worked with Hungarian popular musical idioms, Kodály and Bartók drew a sharp line between the popular music played by Roma (also known as "magyarnóta", or Hungarian music or Gypsy music) and the music of farmers,[17] their work was a watershed that incorporated "every great tradition of the Hungarian people" and influenced all the later composers of the country.[18]

For the first half of the 20th century, Bartók and Kodály were potent symbols for a generation of composers, especially Kodály. Starting in about 1947, a revival in folk choir music began, ended as an honest force by 1950, when state-run art became dominant with the rise of Communism. Under Communism, "(c)ommitment and ideological affiliation (were) measured by the musical style of a composer; the ignominious adjectives 'formalistic' and 'cosmopolitan' gain currency ... (and the proper Hungarian style was) identified with the major mode, the classical aria, rondo or sonata form, the chord sequences distilled" from Kodály's works. Music was uniformly festive and optimistic, with every deviation arousing suspicion; this simplicity led to a lack of popular support from the public, who did not identify with the sterile approved styles. The most prominent composers of this period were Endre Szervánszky, Ferenc Szabó and Lajos Bárdos.[19]

Beginning in about 1955, a new wave of composers appeared, inspired by Bartók and breathing new life into Hungarian music. Composers from this era included András Mihály,[20]Endre Szervánszky, Pál Kadosa, Ferenc Farkas and György Ránki. These composers both brought back old techniques of Hungarian music, as well as adapting imported avant-garde and modernist elements of Western classical music.[21]György Ligeti and György Kurtág are often mentioned in the same sentence. They were born near each other in Transylvania and studied in Budapest in the 1940s. Both were influenced by Stockhausen. Kurtág's modernism borrowed many influences from the past. By contrast Ligeti invented a new language with chromatic tone clusters and elements of parody. Both were multi-lingual and became exiles, this is reflected in the texts for their works. The foundation of the New Music Studio in 1970 helped further modernize Hungarian classical music though promoting composers that felt audience education was as important a consideration as artistic merit in composition and performance; these Studio's well-known composers include László Vidovszky, László Sáry and Zoltán Jeney.[8]Miklós Rózsa, who studied in Germany and eventually settled in the United States, achieved international recognition for his Hollywood film scores as well as his concert music.

Hungarian popular music in the early 20th century consisted of light operettas and the Roma music of various styles. Nagymező utca, the "Broadway of Budapest", was a major center for popular music, and boasted enough nightclubs and theaters to earn its nickname. In 1945, however, this era abruptly ended and popular music was mostly synonymous with the patriotic songs imposed by the Russian Communists, some operettas were still performed, though infrequently, and any music with Western influences was seen as harmful and dangerous.[15] In 1956, however, liberalization began with the "three Ts" ("tiltás, tűrés, támogatás", meaning "prohibition, toleration, support"), and a long period of cultural struggle began, starting with a battle over African Americanjazz.[15] Jazz became a part of Hungarian music in the early 20th century, but did not achieve widespread renown until the 1970s, when Hungary began producing internationally known performers like the Benkó Dixieland Band and Béla Szakcsi Lakatos.[8] Other renowned performers from the younger generation are the Hot Jazz Band and the Bohém Ragtime Jazz Band.

In the early 1960s, Hungarian youths began listening to rock in droves, in spite of condemnation from the authorities. Three bands dominated the scene by the beginning of the 1970s, Illés, Metró and Omega, all three of which had released at least one album. A few other bands recorded a few singles, but the Record-Producing Company, a state-run record label, did not promote or support these bands, which quickly disappeared.[22]

In 1968, the New Economic Mechanism was introduced, intending on revitalizing the Hungarian economy, while the band Illés won almost every prize at the prestigious Táncdalfesztivál; in the 1970s, however, the hard-liners of the Communist party cracked down on dissidence in Hungary, and rock was a major target. The band Illés was banned from performing and recording, while Metró and Omega left, some of the members of these bands formed a supergroup, Locomotiv GT, that quickly became very famous. The remaining members of Omega, meanwhile, succeeded in achieving stardom in Germany, and remained very popular for a time.[22]

In the early 1980s, economic depression wracked Hungary, leading to a wave of politically disillusioned and alienated yet vibrant youth culture, a crucial part of which were hard rock, punk, new wave and art rock. Major bands from this era included Beatrice, who had moved from disco to punk and folk-influenced rock and were known for their splashy, uncensored and theatrical performances, P. Mobil, Bikini, Hobo Blues Band, A. E. Bizottság, Európa Kiadó, Sziámi and Edda művek.[22] The first major prison sentences for rock-related subversion were given out, with the members of the punk band CPg sentenced to two years for political incitement.[22][23]

As the communist system was falling apart, the Hungarian Record Company (MHV) was privatized and smaller independent labels such as Bahia and Human Telex were formed. Major multinational companies such as EMI established headquarters in Budapest. Hungarian popular music became incorporated into the global music industry.[24]

Clubbing and electronic dance music started gaining popularity in Hungary following the change of regime in 1989[25] and corresponding to Electronic music's increasing popularity in the worldwide musical mainstream, the political freedom and cultural boom of western culture opened the way for the clubbing scene, with several venues starting all around the country, especially in Budapest and around Lake Balaton.

The 1990s also marked the creation of several dance formations, notably Soho Party, Splash, Náksi & Brunner and also rave formations such as Emergency House and Kozmix.[26] Notable techno and house DJ-s are Sterbinszky, Budai, and Newl, the workings of the scene culminated in events like Budapest Parade, the largest such street festival in Hungary, that was held yearly from 2000 to 2006, attracting more than half million visitors.[27] The history of Electronic Dance Music and Techno culture in Hungary is documented in Ferenc Kömlődy's book "Fénykatedrális", (1999 in Hungarian).

A thriving underground scene was marked by the start of Tilos Rádió in 1991, the first free independent community station, starting out as a pirate radio, the station soon developed strong ties with the first alternative electronic formations, and inspired to start many others.[28] Bands like Korai Öröm and Másfél (also check Myster Mobius) started, playing ambient, psychedelic music. Anima Sound System, one of the most influential bands on the scene, was created in 1993 playing dub and trip-hop influenced by acid jazz and ethnic music.[29] Several other bands and formations followed, like Colorstar and Neo. Neo has won a worldwide reputation for their unique electro-pop style and the "Mozart of pop music" award (Cannes, 2004) they received for their soundtrack album called "Control". Apart from Anima, ethnic and folk influenced the scene in many ways, exemplified by formations like Balkan Fanatik, or Mitsoura. One of the most successful Hungarian electronic musician is Yonderboi, who recently co-created Žagar, gaining wide reputation in the country; in the past few years, dubstep has gained popular attention as well, nationwide.

Experimental and minimal scene is in its early age, although several crews and DJs are working, organizing numerous events. Notable performers include c0p, Cadik, Ferenc Vaspöeri and Isu.

Hip hop and rap have been developing in Hungary with two scenes, underground and mainstream, which is mostly popular among young people in Hungary. Underground rappers condemn the mainstream for "selling" their music and usually provide deeper message. Mainstream hip hop is dominated by the pioneer of Gangsta rap in Hungary, Ganxsta Zolee, and there are also other famous ones including FankaDeli, Sub Bass Monster, Dopeman, and LL Junior. Mainstream hip-hop is extremely popular among the Romani youth.

Bëlga started as an offshoot hiphop project at Tilos Rádió. As lyrical innovators and phenomenal parodists, they gained wide popularity for an extremely explicit criticism of Budapest public transport company BKV, as well as hilarious wordplays and self-irony, their lyrics are significant beyond the hip-hop scope as a cultural documentation of turn-of-the-millennia Culture of Hungary.[30]

Hungarian Slam sessions are rare and few, and still a novelty for the mainstream, but are gaining popularity with literary performers, emcees and audiences alike.[31]

The origins of the Hungarian indie music scene go back to the early 1980s when Európa Kiadó, Sziami and Balaton released their records, the first revival took place in the mid-1990s when bands like Sexepil gained international success, followed by Heaven Street Seven. The second and most notable revival of the indie-alternative scene took place in the mid-2000s when bands like Amber Smith, The Moog signed to international labels. Other notable bands include EZ Basic, The KOLIN and Dawnstar, the Hungarian indie scene is closely intertwined with electronic music therefore artists like Yonderboi and Žagar are often considered part of the indie scene.

The origins of the Hungarian punk movement go back to the early eighties, when a handful of bands like ETA, QSS, CPG, and Auróra emerged as angry young men playing fast and raw punk rock music. Like many other musicians of their age, they often criticized the communist government, they were a part of the national movement to reject the oppressiveness, and particularly the censorship, of the communist regime. As their music was on the verge of acceptance both by the public and the authorities, concerts were held under tight police control, and often caused moral outrage, with band members often living under constant surveillance, prison was a serious possibility. Two members of the band CPG were found guilty and sent to prison for two years for allegedly unmoral lyrics, after their release, they had to leave Hungary, as did Auróra’s lead singer.

The change of regime in 1989 brought a new situation, and bands now revolted against corruption and the Americanization of the country, they felt that the new system retained the bad things from the previous one, but lacked that good things that many expected. In lyrics, they often mention the newly appearing organized crime, and the still low standard of living.

Today the Hungarian punk scene is low profile, but vibrant with several active bands, often touring the country and beyond. Summer brings a slew of punk and alternative festivals where they can all be sampled. Top venues playing punk music around Budapest include Vörös Yuk, Borgödör, Music Factory and A38 Hajó.

Major bands include Auróra, the oldest Hungarian punk band with twenty-five years of history, come from the northwest Hungarian town of Győr and their originally street punk music has been recently updated with a ska-punk flavor, HétköznaPI CSAlódások (also called PICSA), a simplistic but powerful punk band, most popular in the end of the 1990s. They, similarly to Junkies, Fürgerókalábak, and Prosectura, are part of the new wave of punk bands that had risen in the mid-late 1990s in Hungary. Out of the newer bands, two northeast Hungarian bands are the most known, both playing California punk: Alvin és a mókusok come from Nyíregyháza, while Macskanadrág are from Salgótarján.

Several musical festivals have been launched since the early 1990s propelled by increasing demand of the developing youth culture. Aside from country-wide events like Sziget Festival or Hegyalja Festival, local festivals started to emerge since the first half of the first decade of the new millennium, with the aim to showcase known bands in all regions of Hungary.[37]

Growing out of a low-profile student meeting in 1993, Sziget Festival became one of the largest open-air festival in the world, taking place each summer in the heart of Budapest, the 108 hectare Óbudai island. Visited by hundreds of thousands from all over Europe, it is the largest cultural event in Hungary, inviting world-class performers from all genres.[38]

Also having a history from 1993, VOLT Festival is the second-largest music festival in the country,[39] held each year in Sopron, with a colorful mix of musical styles, and popularity increasing each year, is considered to be the "cheaper version" of Sziget. Also founded by the Sziget management, Balaton Sound is a festival of mainly electronic music, held yearly in Zamárdi, next to Lake Balaton, with prestigious performers and exclusive surroundings, it tries to position itself as a high-standard event.[40]

Hegyalja Festival, held in Tokaj, the historic wine-region of the country, is the largest such event in the Northern part. Visited by 50.000 guests each year, it showcases mainly hard rock and rock formations, but many more genres are present. BalaTone, another major event near lake Balaton is held in Zánka. Magyar Sziget, held in Verőce, has a nationalist theme, with mainly right-wing performers, bands representing the recently emerged nationalistic rock, folk and folk-rock.[41]

^Broughton, pg. 159
Broughton claims that Hungary's "infectious sound has been surprisingly influential on neighbouring countries (thanks perhaps to the common Austro-Hungarian history) and it is not uncommon to hear Hungarian-sounding tunes in Romania, Slovakia and Poland".

^Szalipszki, pg.12
Refers to the country as "widely considered" to be a "home of music".

^Szabolcsi, The Specific Conditions of Hungarian Musical Development
"Every experiment, made from Hungarian antedecents and on Hungarian soil, to create a conscious musical culture (music written by composers, as different from folk music), had instinctively or consciously striven to develop widely and universally the musical world of the folk song. Folk poetry and folk music were deeply embedded in the collective Hungarian people’s culture, and this unity did not cease to be effective even when it was given from and expression by individual creative artists, performers and poets."

^Broughton, pg. 160 Just as bagpipes mean Scotland, so Gypsy bands mean Hungary in the popular imagination. When nationalist composers like Liszt composed... they took as their models the music of the urban Gypsy orchestras.

^Szabolcsi, The "Verbunkos": The National Musical Style of the Nineteenth CenturyWhen around 1800 the leading role of the new dance music was taken over by János Bihari, János Lavotta and Antal Csermák... its melodic and rhythmical enrichment was such that the "verbunkos" immediately became the most important expression of the Hungarian musical Romanticism. It even assumed the role of the representative art of nineteenth-century Hungary, the role of national music.

^ ab"Sisa". Hungarian-history.hu. Archived from the original on 11 March 2016. Retrieved 7 October 2017.

^Szabolcsi, The Instrumental Music of the Romantic Period: Liszt and Mosonyi: The Programme of RomanticismThey are thus, all three of them, "occidentalists", but the influence of their movement on Hungarian music is unsurpassed even by their successors, because in addition to their individual abilities they bring about an unprecedented artistic intensification of the Romantic musical idiom, which is practically consumed by this extreme passion.

^Szabolcsi, New Hungarian MusicTheir art was not popular art. It was more than that, it was an individual avowal related to the most profound characteristics of their people, an extensive expression of creative forces. These expressions were, as a matter of course, related to every great historical tradition of the Hungarian people.

^Kroó, György The ideal of popular art is from 1949 gradually replaced by state art, the practice of a controlled and administratively directed musical life. Commitment and ideological affiliation are measured by the musical style of a composer; the ignominious adjectives "formalistic" and "cosmopolitan" gain currency. That the progressive musical style is identified with the major mode, the classical aria, rondo or sonata form, the chord sequences distilled from Kodály works and proclamatory composition becomes exalted into an unwritten law.

1.
Hungarian folk music
–
Hungarian folk music includes a broad array of styles, including the recruitment dance verbunkos, the csárdás and nóta. Béla Bartók took this departure into the musical world in his appropriation of traditional Hungarian as the basis for symphonic creations. Zoltán Kodály and Béla Bartók observed that Hungarian peasant music use isometric strophe structure and certain pentatonic formations and these features jointly may be considered as altogether typical, and differentiate Hungarian peasant music from that of any other nation. Bartók studied over 300 melodies, and noted that more modern tunes used for dancing featured pentatonic turns with frequent leaps in fourths

2.
Budapest indie music scene
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Budapest indie music scene was the indie music scene of Budapest, Hungary in the 2000s. It was often associated with bands like Amber Smith, The Moog, EZ Basic, the early 2000s was the revival of the indie music scene all over the world, which affected Hungary as well. One of the earliest Hungarian band playing indie rock were The Puzzle from Kaposvár and they were the first band whose record, entitled Dream Your Life, was released by an international label, PolyGram in 2000. On 10 March 2006, Amber Smiths third studio album, RePRINT, was released by the German Kalinkaland Records, the album included the song Hello Sun which brought the band international recognition. On 10 April 2007, The Moogs first full-length studio album Sold for Tomorrow was released by the American label MuSick, the song I Like You brought international success for the band. On 18 February 2008, Amber Smiths fourth studio album was released entitled Introspective, the album included songs like Introspective, Select All/Delete All, and Coded. On 21 July 2009, The Moogs second studio album was released entitled Razzmatazz Orfeum, the first single, You Raised A Vampire, was released in colored vinyl 7 with stunning artwork by Gris Grimly. The video for You Raised A Vampire was shot in the gothic building where the first Underworld movie was made in Budapest. The 2010s saw the emergence of new bands such as Carbovaris and Bastiaan. The decline of the Hungarian indie started in the 2010s, although the most notable such as Amber Smith, The Moog. From the 2010s two new bands, Carbovaris and Fran Palermo, started to take over the Hungarian indie scene, however and these bands did not attract such a big audience as Amber Smith or The Moog could in the mid 2000s. The decline can also be attributed to the fact that Imre Poniklo started several projects in the 2010s, such as The Poster Boy, SALT III. therefore, one of the most important bands did not play at concerts which lower their popularity. In addition, the Indie rock genre also experienced a decline all over the world which obviously affected the Hungarian indie scene. On 10 April 2012 The Moog released their studio album entitled Seasons in the Underground produced by Ken Scott followed by US tour with bands like B-52s. The Moog concentrated on their US carrier with moderate success, on 21 April 2012 Amber Smith released their fifth studio album entitled Amber Smith. Although Poniklo claimed that this record is one of the best ones among the previous releases, even if the indie band Hungry Kids of Hungary suggest close relation to Hungary, they are Australians from Brisbane, Queensland, Hungarian alternative Hungarian music Hungarian pop Hungarian rock

3.
Hungarian metal
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Hungarian metal is the metal music scene of Hungary. One of the most popular and well-known band is Attila Csihars Tormentor, other bands include Sear Bliss, Ektomorf, FreshFabrik, Blind Myself, The Idoru and Subscribe. Tormentor, formed in 1985, recorded their first album entitled Anno Domini in 1988, the album reached Norway through the tape-trading community. Following the suicide of Per Ohlin, Mayhem invited Attila Csihar from Tormentor to join the band, in 1993 the band FreshFabrik was founded by András Szabó and Levente Kovács. In 1997 the band was signed by Warner Music Group to release its second studio album. In 1993 one of the most successful Hungarian metal bands, Ektomorf, was formed, the Zoltán Farkas-led band from Mezőkovácsháza managed to get signed by PIAS Recordings and later by major label Nuclear Blast. In 1994 the band Blind Myself was formed, which one of the first metalcore bands. Later they became one of the metal bands in Hungary. In 1998 a band from Sopron named Dalriada conquered Hungary with their folk metal and their album entitled Kikelet helped the band perform in major European music festivals. The 2000s saw the emergence of bands which combined music with other genres such as post-hardcore. In 2003 a supergroup was formed named The Idoru by ex-members of Newborn, Blind Myself and they managed to release several records including their second full-length studio album Monologue which brought them success outside Hungary. They toured with the American Misfits in Europe in 2007 and with Ignite in Japan in 2008, in 2012 the band Shell Beach released their second full-length David Schram-produced studio album entitled This Is Desolation which helped them sign a contract with Redfield Digital Records

4.
Hungarian pop
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Hungarian pop is the pop music scene of Hungary. It is often associated with Rezső Seresss song Gloomy Sunday which was covered by numerous artists, the most notable artists include Kati Kovács, Zsuzsa Koncz, Locomotiv GT, Omega, Neoton Família. Among the new talents are Kállay Saunders and Linda Király, one of the early acts is associated with Rezső Seress who composed the world wide hit Gloomy Sunday while living in Paris, in an attempt to become established as a songwriter in late 1932. In the 1930s and 1940s Pál Kalmár was one of the most celebrated singers in Hungary and he was also noted for singing the song Gloomy Sunday. He also appeared in the 1935 film St. Peters Umbrella, in the late 1930s Vali Rácz became a popular Hungarian singer and actress reaching her zenith in the 1940s. She was a nightclub performer and a recording artist. Rácz also appeared in approximately 20 Hungarian feature films, due to her glamorous looks and sex appeal she gained reputation as the ‘Hungarian Marlene Dietrich’. Vali Rácz finished the Franz Liszt Academy of Music in Budapest 1932, from 1933 to 1934 she played at City Theatre and then at Hungarian Theatre. From 1936 she sang at Terézkörúti Színpad and at City Theatre for three years, after 1945 she was a member of Royal Revue-theatre, Medgyaszay Theatre, then Kamara Varieté. She acted in twenty films, but was primarily a chanteuse, giving concerts at the Music Academy and Vigadó Concert Hall. In the late 1950s Éva Mikes rose to fame in Hungary with her characteristic voice, Mikes started her music career at the late 50s at the studio of the Magyar Rádió. She was best known for her lyrical, romantic songs, she scored the first place in the very first Hungarian Top Hit Chart - published in Ifjúsági Magazin in 1965 with her song Te szeress legalább. She became also popular in other Eastern European countries, such as the Soviet Union and she also appeared at the Sopot International Song Festival. After the local success of beat music classical pop lost popularity, in 1973 - after her daughters birth - she left the stage and worked as a music teacher. Her notable singles include Ahogy mentem az utcán, Ami szívemen a számon, Egy kicsi szerencse, Első szerelem, Engem nem lehet elfelejteni, Esős vasárnap délután and many more. Erzsi Kovácss first major success was with the song Régi óra halkan jár in 1957, in 1964 her record company dropped her, and she moved abroad. In the next 14 years she sang in Germany, Sweden, after her return she toured mainly in the countryside. She also had concerts at the Royal Park Stage, the Budapest Concert Hall

5.
Rock music in Hungary
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Hungarian rock has been a part of the popular music of Hungary since the early 1960s. The first major bands were Illés, Metró and Omega, at the time, rock was not approved of by the Hungarian Communist authorities. In the 1970s, the Communists cracked down on rock, some members of the other bands formed a supergroup called Locomotiv GT, while the band Omega became very popular in Germany. In 1968, the New Economic Mechanism was introduced, intending on revitalizing the Hungarian economy, in the 70s, however, the Russians cracked down on subversives in Hungary, and rock was a major target. The band Illés was banned from performing and recording, while Metró, some of the members of these bands formed a supergroup, Locomotiv GT, that quickly became very famous. The remaining members of Omega, meanwhile, succeeded in achieving stardom in Germany, the early part of the decade saw the arrive of punk and new wave music in full force, and the authorities quickly incorporated those styles as well. The first major prison sentences for rock-related subversion were given out, by the end of the decade and into the 1990s, internal problems made it impossible for the Hungarian government to counter the activities of rock and other musical groups. After the collapse of the Communist government, the Hungarian scene become more and more like the styles played in the rest of Europe, the 2000s see the emergence of new different genres, while the classic rock remained in the background. Several metal bands reached international success such as FreshFabrik, Blind Myself, Hungarian alternative band Kispál és a Borz emerged in the early 1990s. They became famous for their lead singers lyrics and unique style of singing, as the only Hungarian underground band Attila Grandpierres Vágtázó Halottkémek reached measureable international recognition with their fusion of tribal rhythms with hardcore punk rock. In 1990 Pál Utcai Fiúks first studio album was released titled Ha Jön Az Álom, later the band became of the most well-known alternative rock band in Hungary. Their most widely known albums are A Bál, A Nagy Rohanás, Szerelemharc, Szajhák és Partizánok, Ha Jön Az Élet, Közönséges, in 1991 Kispál és a Borzs first studio album was released titled Naphoz Holddal. Later the band became the most successful rock band in Hungary. Their most notable albums are Föld Kaland Ilyesmi, Ágy, Asztal, Tévé, Sika, Kasza, Léc, Ül, the band became noted for their singer András Lovasis unique style of lyrics. In 1993 Quimbys first record was released titled A Sip of Story, later the band became one of the leading bands of the Hungarian alternative scene. Their most famous albums are Jerrycan Dance, Majom-tangó, Diligramm, Ékszerelmére, Káosz Amigos, Kilégzés, Lármagyűjtögető, Kicsi Ország, in 1992 Nulladik Változat released their first studio album with the eponymous title. In 1995 Sexepil reached international markets with their song Jerusalem which was aired on Music Televisions alternative program, in 1996 Nulladik Változat released their second studio album titled Négy. The album contained the song Hajnal which brought success for the band in Hungarian underground scene, in 1997 C. A. F. B. s second studio album, Zanza, was released by Premier Art Records

6.
Phonograph record
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The groove usually starts near the periphery and ends near the center of the disc. The phonograph disc record was the medium used for music reproduction until late in the 20th century. It had co-existed with the cylinder from the late 1880s. Records retained the largest market share even when new formats such as compact cassette were mass-marketed, by the late 1980s, digital media, in the form of the compact disc, had gained a larger market share, and the vinyl record left the mainstream in 1991. The phonograph record has made a resurgence in the early 21st century –9.2 million records were sold in the U. S. in 2014. Likewise, in the UK sales have increased five-fold from 2009 to 2014, as of 2017,48 record pressing facilities remain worldwide,18 in the United States and 30 in other countries. The increased popularity of vinyl has led to the investment in new, only two producers of lacquers remains, Apollo Masters in California, USA, and MDC in Japan. Vinyl records may be scratched or warped if stored incorrectly but if they are not exposed to heat or broken. The large cover are valued by collectors and artists for the space given for visual expression, in the 2000s, these tracings were first scanned by audio engineers and digitally converted into audible sound. Phonautograms of singing and speech made by Scott in 1860 were played back as sound for the first time in 2008, along with a tuning fork tone and unintelligible snippets recorded as early as 1857, these are the earliest known recordings of sound. In 1877, Thomas Edison invented the phonograph, unlike the phonautograph, it was capable of both recording and reproducing sound. Despite the similarity of name, there is no evidence that Edisons phonograph was based on Scotts phonautograph. Edison first tried recording sound on a paper tape, with the idea of creating a telephone repeater analogous to the telegraph repeater he had been working on. The tinfoil was wrapped around a metal cylinder and a sound-vibrated stylus indented the tinfoil while the cylinder was rotated. The recording could be played back immediately, Edison also invented variations of the phonograph that used tape and disc formats. A decade later, Edison developed a greatly improved phonograph that used a wax cylinder instead of a foil sheet. This proved to be both a better-sounding and far more useful and durable device, the wax phonograph cylinder created the recorded sound market at the end of the 1880s and dominated it through the early years of the 20th century. Berliners earliest discs, first marketed in 1889, but only in Europe, were 12.5 cm in diameter, both the records and the machine were adequate only for use as a toy or curiosity, due to the limited sound quality

7.
Balaton Sound
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Balaton Sound is one of Europes largest open air electronic music festivals. Held annually since 2007 on the bank of Lake Balaton, Hungary, it features live acts and DJs from all around the world. The event was co-created by the organizers of Sziget Festival, as the festival gets more famous and popular each year, tickets are usually sold out before they go on sale at the official ticket vendors, this event sets new attendance records yearly. The first Balaton Sound festival was held between 12 July and 15 July 2007, the fact that the event was held on the shore of the largest lake in Central Europe in mid-summer, its twenty-hour music schedule, and the line-up gained it significant public interest. The festival is located on the west part of Zamárdi at the crossing of Panoráma, visitors to Balaton Sound can stay at a special camp site with several pubs, cocktail bars and restaurants equipped with accoutrements absent from Hungarys other summer music festivals. The Main Stage area has a capacity of about 50,000, according to a KPMG study over the 4 days of the event in 2008,88,000 attendants visited the festival while the daily average reached 22,000. Over 1.6 billion HUF was spent by visitors in total,41,000 HUF per person, mostly spent on entrance fee, food, in 2009, the number of festival visitors reached 94,000. Later, in 2012 the festival came out second largest music festival in Hungary, the 2012 festival won the European Festivals Award in the category Best Medium-Sized European Festival in early 2013. Pre-sale ticket prices, The following are the festival line-ups for 2007,2008,2007,2008,2009,2013, List of electronic music festivals http, //www. sziget. hu/balatonsound/ http, //globetrekker. hu/balaton-sound-09/ http, //www. hungarotickets. com/balatonsound/

8.
Sziget Festival
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The Sziget Festival is one of the largest music and cultural festivals in Europe. It is held every August in northern Budapest, Hungary, on Óbudai-sziget, more than 1,000 performances take place each year. It also has a party train service that transports festivalgoers from all over Europe. The second event, labeled Eurowoodstock, was headlined by performers from the original Woodstock festival, by 1997 total attendance surpassed the 250,000 mark, reaching an all-time peak in 2016 with 496,000 visitors from 95 countries. It is now being labeled as a European alternative to the Burning Man festival due to its unique features. In 2011, Sziget was ranked one of the 5 best festivals in Europe by The Independent, the festival is a two time winner at the European Festivals Awards in the category Best Major European Festival in early 2012 and 2015. In 2002, Sziget branched out to Transylvania when its organizers co-created a new annual festival there titled Félsziget Fesztivál that soon became the largest of its kind in Romania, in 2007, the organizers co-created Balaton Sound, an electronic music festival that quickly gained popularity. Following the end of the Communist era in 1989, the formerly lively summer festival scene in Budapest faced a crisis due to a loss of governmental funding. A group of artists and rock enthusiasts proposed the Sziget event as a way to bridge this gap, the festival was started in 1993, originally called Diáksziget. This first event was organised by fans in their spare time and ran well over budget. From 1996 to 2001 it was sponsored by Pepsi and renamed Pepsi Sziget and it has been called Sziget Fesztivál since 2002. A comprehensive survey was done and published on the risktaking behaviour, the survey revealed amongst others that the last sexual encounter of 9. 4% of its participants was unprotected. Sziget Festival is notable in that it acts from many different genres. 2006 saw, among others, a stage, a jazz tent. The festival is popular with west Europeans, around 50% of visitors come from outside Hungary, with the largest group coming from the Netherlands. Many also come from the UK, Germany, Italy, France, being located on an island, some festival goers have tried to enter by swimming across the Danube or by paddling across in inflatable rafts. The organisers very much discourage these attempts as it is due to the tricky nature of the fast-flowing Danube river. In 2008, Sziget Festival lasted from 11 to 18 August, as well as Iron Maiden, R. E. M

9.
MTV Hungary
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MTV Hungary was a television channel broadcasting to Hungary. It started on October 1,2007 and ceased broadcasting in January 2014, the channel is available on cable/digital television and hosts a number of localised programming and presenters. According to RRTV Viacom International Media Networks handed back its licence to broadcast a Hungarian version of the channel, MTV Hungary has been replaced with MTV Europe since January 8,2014. Comedy Central Nickelodeon Viva Official site MTV Networks Europe Site

10.
VIVA Hungary
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VIVA Hungary is a 24-hour music and entertainment channel. The channel was launched on 27 June 1997 as Z+, like its sister channels, the channel features localized music videos, programming, presenters and chart shows. It had more changes on 2 April 2012, programmes, VIVA VEKKER VIVA SOUNDS VIVA NIGHT SOUNDS PARTY SOUNDS MEGÁLLÓ RANDOMMARCI MAYO CHIX DIVATVILÁG EGYTŐL HÁROM

11.
Himnusz
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Himnusz is the official national anthem of Hungary. It was adopted in the 19th century and the first stanza is sung at official ceremonies, the full meaning of the poems text is evident only to those well acquainted with Hungarian history. The lyrics of Himnusz are a prayer beginning with the words Isten, the title in the original manuscript is Hymnus - a Latin word meaning hymn, and one which had no widely used counterpart in the Hungarian language at the time. It is only in specialist usage that it is used in its meaning of hymn in Hungarian. Although Kölcsey completed the poem on 22 January 1823, it was published first in 1829 in Károly Kisfaludys Aurora, without the subtitle. It subsequently appeared in a collection of Kölcseys works in 1832, a competition for composers to make the poem suitable to be sung by the public was staged in 1844 and won by Erkels entry. His version was first performed in the National Theatre in July 1844, then in front of an audience on 10 August 1844. By the end of the 1850s it became customary to sing Himnusz at special occasions either alongside Vörösmartys Szózat or on its own. It wasnt until 1989 that Erkels musical adaptation of Himnusz finally gained recognition as Hungarys national anthem. The public radio station Kossuth Rádió plays Himnusz at ten minutes past midnight each day at the close of transmissions in the AM band, Himnusz is also traditionally played on Hungarian television at the stroke of midnight on New Years Eve. Traditionally, Himnusz is sung at the beginning of ceremonies, recognition is also given to the Rákóczi March, a short wordless piece which is often used on state military occasions, and the poem Nemzeti dal written by Sándor Petőfi. Another popular song is the Székely Himnusz, a national anthem of the Hungarian-speaking Szekler living in Eastern Transylvania. Two English versions are given below, both are free translations of the Hungarian words, since Hungarian is a genderless language, references to the Magyar as he in the English translations are in fact directed to all Hungarians regardless of gender. On May 7,2006, a sculpture was inaugurated for Himnusz at Szarvas Square, Budakeszi and it was created by Mária V. The musical form of the poem can be played on the bells, the cost of its construction,40 million forints, was collected through public subscription. Sheet Music is available at the Hungarian Electronic Library website, Hungarian Anthem on Music Keyboard 2.4

12.
Hungary
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Hungary is a unitary parliamentary republic in Central Europe. With about 10 million inhabitants, Hungary is a member state of the European Union. The official language is Hungarian, which is the most widely spoken language in Europe. Hungarys capital and largest metropolis is Budapest, a significant economic hub, major urban areas include Debrecen, Szeged, Miskolc, Pécs and Győr. His great-grandson Stephen I ascended to the throne in 1000, converting the country to a Christian kingdom, by the 12th century, Hungary became a middle power within the Western world, reaching a golden age by the 15th century. Hungarys current borders were established in 1920 by the Treaty of Trianon after World War I, when the country lost 71% of its territory, 58% of its population, following the interwar period, Hungary joined the Axis Powers in World War II, suffering significant damage and casualties. Hungary became a state of the Soviet Union, which contributed to the establishment of a four-decade-long communist dictatorship. On 23 October 1989, Hungary became again a democratic parliamentary republic, in the 21st century, Hungary is a middle power and has the worlds 57th largest economy by nominal GDP, as well as the 58th largest by PPP, out of 188 countries measured by the IMF. As a substantial actor in several industrial and technological sectors, it is both the worlds 36th largest exporter and importer of goods, Hungary is a high-income economy with a very high standard of living. It keeps up a security and universal health care system. Hungary joined the European Union in 2004 and part of the Schengen Area since 2007, Hungary is a member of the United Nations, NATO, WTO, World Bank, the AIIB, the Council of Europe and Visegrád Group. Well known for its cultural history, Hungary has been contributed significantly to arts, music, literature, sports and science. Hungary is the 11th most popular country as a tourist destination in Europe and it is home to the largest thermal water cave system, the second largest thermal lake in the world, the largest lake in Central Europe, and the largest natural grasslands in Europe. The H in the name of Hungary is most likely due to historical associations with the Huns. The rest of the word comes from the Latinized form of Medieval Greek Oungroi, according to an explanation the Greek name was borrowed from Proto-Slavic Ǫgǔri, in turn borrowed from Oghur-Turkic Onogur. Onogur was the name for the tribes who later joined the Bulgar tribal confederacy that ruled the eastern parts of Hungary after the Avars. The Hungarians likely belonged to the Onogur tribal alliance and it is possible they became its ethnic majority. The Hungarian endonym is Magyarország, composed of magyar and ország, the word magyar is taken from the name of one of the seven major semi-nomadic Hungarian tribes, magyeri

13.
Folk music
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Folk music includes both traditional music and the genre that evolved from it during the 20th century folk revival. The term originated in the 19th century, but is applied to music older than that. Some types of music are also called world music. Traditional folk music has been defined in several ways, as music transmitted orally, music with unknown composers and it has been contrasted with commercial and classical styles. Starting in the century, a new form of popular folk music evolved from traditional folk music. This process and period is called the revival and reached a zenith in the 1960s. This form of music is called contemporary folk music or folk revival music to distinguish it from earlier folk forms. Smaller, similar revivals have occurred elsewhere in the world at other times and this type of folk music also includes fusion genres such as folk rock, folk metal, electric folk, and others. Even individual songs may be a blend of the two, a consistent definition of traditional folk music is elusive. The terms folk music, folk song, and folk dance are comparatively recent expressions and they are extensions of the term folklore, which was coined in 1846 by the English antiquarian William Thoms to describe the traditions, customs, and superstitions of the uncultured classes. Traditional folk music also includes most indigenous music, however, despite the assembly of an enormous body of work over some two centuries, there is still no certain definition of what folk music is. Some do not even agree that the term Folk Music should be used, Folk music may tend to have certain characteristics but it cannot clearly be differentiated in purely musical terms. One meaning often given is that of old songs, with no known composers, the fashioning and re-fashioning of the music by the community that give it its folk character. Such definitions depend upon processes rather than abstract musical types, one widely used definition is simply Folk music is what the people sing. For Scholes, as well as for Cecil Sharp and Béla Bartók, Folk music was already. seen as the authentic expression of a way of life now past or about to disappear, particularly in a community uninfluenced by art music and by commercial and printed song. In these terms folk music may be seen as part of a schema comprising four types, primitive or tribal, elite or art, folk. Music in this genre is often called traditional music. Although the term is only descriptive, in some cases people use it as the name of a genre

14.
Popular music
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Popular music is music with wide appeal that is typically distributed to large audiences through the music industry. These forms and styles can be enjoyed and performed by people with little or no musical training and it stands in contrast to both art music and traditional or folk music. Art music was historically disseminated through the performances of music, although since the beginning of the recording industry. Traditional music forms such as blues songs or hymns were passed along orally, or to smaller. The original application of the term is to music of the 1880s Tin Pan Alley period in the United States, although popular music sometimes is known as pop music, the two terms are not interchangeable. Popular music songs and pieces typically have easily singable melodies, in the 2000s, with songs and pieces available as digital sound files, it has become easier for music to spread from one country or region to another. Some popular music forms have become global, while others have an appeal within the culture of their origin. Through the mixture of genres, new popular music forms are created to reflect the ideals of a global culture. The examples of Africa, Indonesia and the Middle East show how Western pop music styles can blend with local traditions to create new hybrid styles. Sales of recordings or sheet music are one measure, middleton and Manuel note that this definition has problems because multiple listens or plays of the same song or piece are not counted. Manuel states that one criticism of music is that it is produced by large media conglomerates and passively consumed by the public. He claims that the listeners in the scenario would not have been able to make the choice of their favorite music, moreover, understandings of popular music have changed with time. A societys popular music reflects the ideals that are prevalent at the time it is performed or published, david Riesman states that the youth audiences of popular music fit into either a majority group or a subculture. The majority group listens to the commercially produced styles while the subcultures find a minority style to transmit their own values and this allows youth to choose what music they identify with, which gives them power as consumers to control the market of popular music. Form in popular music is most often sectional, the most common sections being verse, chorus or refrain, other common forms include thirty-two-bar form, chorus form *, and twelve-bar blues. Popular music songs are rarely composed using different music for each stanza of the lyrics, the verse and chorus are considered the primary elements. Each verse usually has the melody, but the lyrics change for most verses. The chorus usually has a phrase and a key lyrical line which is repeated

15.
Classical music
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Classical music is art music produced or rooted in the traditions of Western music, including both liturgical and secular music. The central norms of this tradition became codified between 1550 and 1900, which is known as the common-practice period, Western staff notation is used by composers to indicate to the performer the pitches, tempo, meter and rhythms for a piece of music. This can leave less room for such as improvisation and ad libitum ornamentation. The term classical music did not appear until the early 19th century, the earliest reference to classical music recorded by the Oxford English Dictionary is from about 1836. This score typically determines details of rhythm, pitch, and, the written quality of the music has enabled a high level of complexity within them, J. S. The use of written notation also preserves a record of the works, Musical notation enables 2000s-era performers to sing a choral work from the 1300s Renaissance era or a 1700s Baroque concerto with many of the features of the music being reproduced. That said, the score does not provide complete and exact instructions on how to perform a historical work, even if the tempo is written with an Italian instruction, we do not know exactly how fast the piece should be played. Bach was particularly noted for his complex improvisations, during the Classical era, the composer-performer Mozart was noted for his ability to improvise melodies in different styles. During the Classical era, some virtuoso soloists would improvise the cadenza sections of a concerto, during the Romantic era, Beethoven would improvise at the piano. The instruments currently used in most classical music were largely invented before the mid-19th century and they consist of the instruments found in an orchestra or in a concert band, together with several other solo instruments. The symphony orchestra is the most widely known medium for music and includes members of the string, woodwind, brass. The concert band consists of members of the woodwind, brass and it generally has a larger variety and number of woodwind and brass instruments than the orchestra but does not have a string section. However, many bands use a double bass. Many of the used to perform medieval music still exist. Medieval instruments included the flute, the recorder and plucked string instruments like the lute. As well, early versions of the organ, fiddle, Medieval instruments in Europe had most commonly been used singly, often self accompanied with a drone note, or occasionally in parts. From at least as early as the 13th century through the 15th century there was a division of instruments into haut, during the earlier medieval period, the vocal music from the liturgical genre, predominantly Gregorian chant, was monophonic, using a single, unaccompanied vocal melody line. Polyphonic vocal genres, which used multiple independent vocal melodies, began to develop during the medieval era, becoming prevalent by the later 13th

16.
Transdanubia
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Transdanubia is a traditional region of Hungary. Transdanubia can also refer to the 21st and 22nd districts of Vienna, the borders of Transdanubia are the Danube River, the Drava and Mura rivers, and the foothills of the Alps roughly along the border between Hungary and Austria. Transdanubia comprises the counties of Győr-Moson-Sopron, Komárom-Esztergom, Fejér, Veszprém, Vas, Zala, Somogy, Tolna, Baranya and this article deals with Transdanubia in this geographical meaning. Before the Treaty of Trianon in 1920 the present-day regions of Burgenland, the three villages of Rusovce, Jarovce and Čunovo also belonged to Transdanubia before the Paris Peace Treaty in 1947. Transdanubia is essentially a Hungarian geographical concept so these ceased to be parts of it when they were annexed by neighbouring countries. Transdanubia is a NUTS territorial unit in the European Union, consisting of Central Transdanubia, Western Transdanubia, Pest county and Budapest belong to the region of Central Hungary. It has an area of 37,000 km2 and a population of around 3.1 million, the territory of the region is 38,000 km², and it comprises almost half of the whole territory of Hungary. The terrain is varied with gentle hills, valleys, basins, mountains and plains. The main geographical formations are the Transdanubian Mountains, the half of the Little Alföld, the Alpokalja, the Transdanubian Hills. The main rivers are the Danube, Drava, Rába, Zala, in the middle of Transdanubia lies the biggest freshwater lake of Central Europe, the Lake Balaton. Other importants lakes are the Lake Velence and the Lake Fertő, historically the counties of Transdanubia were Moson, Győr, Sopron, Vas, Zala, Veszprém, Fejér, Komárom, Esztergom, Somogy, Tolna and Baranya. They comprised the so called Districtus Trans-Danubianus from the beginnings of the 18th century, the boundaries of these counties, established by Stephen I of Hungary remained unchanged for almost 900 years until 1920. Transdanubia has been populated since the Stone Age, between 10 BCE and 434 CE, it was part of the Roman Empire. With some present-day Austrian and Croatian territories, it comprised the Province of Pannonia, in the Age of Migrations it was occupied by the Huns, Ostrogoths, Lombards, Gepids, Avars, Franks and the Slavic peoples. In 900 Pannonia was occupied by the Magyars and after 1000 became part of the Kingdom of Hungary, Transdanubia has been one of the most important regions of Hungary since the 11th century. Esztergom has been the capital of the country since 1001 until today. Other important medieval cities were Veszprém, Pécs, Győr and Sopron, after the devastating Mongol invasion new castles were built, and King Béla IV of Hungary established a new royal capital at Buda, next to the Danube. The regions rich heritage is seen everywhere from the little village churches to the old castles, monasteries

17.
Central and Eastern Europe
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It is in use after the collapse of the Iron Curtain in 1989–90. In scholarly literature the abbreviations CEE or CEEC are often used for this concept, the transition countries in Europe are thus classified today into two political-economic entities, CEE and CIS. According to the World Bank, the transition is over for the 10 countries that joined the EU in 2004 and 2007 and it can be also understood as all countries of the Eastern Bloc. The definition of this varies, depending on the source. Central Europe Central and Eastern European Online Library East-Central Europe Eastern Europe Regions of Europe Baltic states Visegrád Group

18.
Jazz
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Jazz is a music genre that originated amongst African Americans in New Orleans, United States, in the late 19th and early 20th centuries, and developed from roots in Blues and Ragtime. Since the 1920s jazz age, jazz has become recognized as a form of musical expression. Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms, Jazz has roots in West African cultural and musical expression, and in African-American music traditions including blues and ragtime, as well as European military band music. Although the foundation of jazz is deeply rooted within the Black experience of the United States, different cultures have contributed their own experience, intellectuals around the world have hailed jazz as one of Americas original art forms. As jazz spread around the world, it drew on different national, regional, and local musical cultures, New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. In the 1930s, heavily arranged dance-oriented swing big bands, Kansas City jazz, bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging musicians music which was played at faster tempos and used more chord-based improvisation. Cool jazz developed in the end of the 1940s, introducing calmer, smoother sounds and long, modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock rhythms, electric instruments. In the early 1980s, a form of jazz fusion called smooth jazz became successful. Other styles and genres abound in the 2000s, such as Latin, the question of the origin of the word jazz has resulted in considerable research, and its history is well documented. It is believed to be related to jasm, a term dating back to 1860 meaning pep. The use of the word in a context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a context in New Orleans was in a November 14,1916 Times-Picayune article about jas bands. In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, When Broadway picked it up. That was dirty, and if you knew what it was, the American Dialect Society named it the Word of the Twentieth Century. Jazz has proved to be difficult to define, since it encompasses such a wide range of music spanning a period of over 100 years. Attempts have been made to define jazz from the perspective of other musical traditions, in the opinion of Robert Christgau, most of us would say that inventing meaning while letting loose is the essence and promise of jazz. As Duke Ellington, one of jazzs most famous figures, said, although jazz is considered highly difficult to define, at least in part because it contains so many varied subgenres, improvisation is consistently regarded as being one of its key elements

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Rock music
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It has its roots in 1940s and 1950s rock and roll, itself heavily influenced by blues, rhythm and blues and country music. Rock music also drew strongly on a number of genres such as electric blues and folk. Musically, rock has centered on the guitar, usually as part of a rock group with electric bass guitar. Typically, rock is song-based music usually with a 4/4 time signature using a verse-chorus form, like pop music, lyrics often stress romantic love but also address a wide variety of other themes that are frequently social or political in emphasis. Punk was an influence into the 1980s on the subsequent development of subgenres, including new wave, post-punk. From the 1990s alternative rock began to rock music and break through into the mainstream in the form of grunge, Britpop. Similarly, 1970s punk culture spawned the visually distinctive goth and emo subcultures and this trio of instruments has often been complemented by the inclusion of other instruments, particularly keyboards such as the piano, Hammond organ and synthesizers. The basic rock instrumentation was adapted from the blues band instrumentation. A group of musicians performing rock music is termed a rock band or rock group, Rock music is traditionally built on a foundation of simple unsyncopated rhythms in a 4/4 meter, with a repetitive snare drum back beat on beats two and four. Melodies are often derived from older musical modes, including the Dorian and Mixolydian, harmonies range from the common triad to parallel fourths and fifths and dissonant harmonic progressions. Critics have stressed the eclecticism and stylistic diversity of rock, because of its complex history and tendency to borrow from other musical and cultural forms, it has been argued that it is impossible to bind rock music to a rigidly delineated musical definition. These themes were inherited from a variety of sources, including the Tin Pan Alley pop tradition, folk music and rhythm, as a result, it has been seen as articulating the concerns of this group in both style and lyrics. Christgau, writing in 1972, said in spite of some exceptions, rock and roll usually implies an identification of male sexuality, according to Simon Frith rock was something more than pop, something more than rock and roll. Rock musicians combined an emphasis on skill and technique with the concept of art as artistic expression, original. The foundations of music are in rock and roll, which originated in the United States during the late 1940s and early 1950s. Its immediate origins lay in a melding of various musical genres of the time, including rhythm and blues and gospel music, with country. In 1951, Cleveland, Ohio disc jockey Alan Freed began playing rhythm and blues music for a multi-racial audience, debate surrounds which record should be considered the first rock and roll record. Other artists with rock and roll hits included Chuck Berry, Bo Diddley, Fats Domino, Little Richard, Jerry Lee Lewis

20.
Omega (band)
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Omega is one of the most successful Hungarian rock bands. This new septet provided the band with its first stable line-up, within a few months of Pressers recruitment, both Varsányi and Wittek departed, the role of bassist falling to Tamás Mihály at this point. Later in the year, longstanding guitarist Kovacsics also opted to leave the band, the following year Somló departed the band, and the remaining sextet ultimately proved to be the line-up that ultimately ended up releasing the bands debut album, as well as the following two. These first albums were influenced by the music of The Beatles and psychedelic rock. In 1968 come the bands english album too, this was Omega Red Star from Hungary and this band released ten more albums between 1972 and 1987. Many of these were released both in Hungarian and in English, in the hopes of generating wider interest in their music. However, the contents of the English albums often differed from their Hungarian counterparts, sometimes assembling tracks from different albums. Omega has achieved international success through releases in multiple languages. Omega’s 16th Hungarian studio release is 2006’s Égi jel, Omega, in spring and summer of 2006, they performed their EurOmega 2006 tour, including concerts in Hungary, Slovakia, Romania, Berlin and Basel. As the first part of a trilogy the band released in autumn 2010 Omega Rhapsody. On July 19,2016, former Omega saxophonist and LGT bassist Tamás Somló died, aged 68, of cancer, and the following month, on August 6,2016, former drummer József Laux also died, aged 73

21.
Franz Liszt
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Franz Liszt was a prolific 19th-century Hungarian composer, virtuoso pianist, conductor, music teacher, arranger, organist, philanthropist, author, nationalist and a Franciscan tertiary. Liszt gained renown in Europe during the nineteenth century for his prodigious virtuosic skill as a pianist. As a composer, Liszt was one of the most prominent representatives of the New German School and he left behind an extensive and diverse body of work in which he influenced his forward-looking contemporaries and anticipated many 20th-century ideas and trends. Franz Liszt was born to Anna Liszt and Adam Liszt on October 22,1811, in the village of Doborján in Sopron County, in the Kingdom of Hungary, Liszts father played the piano, violin, cello and guitar. He had been in the service of Prince Nikolaus II Esterházy and knew Haydn, Hummel, at age six, Franz began listening attentively to his fathers piano playing and showed an interest in both sacred and Romani music. Adam began teaching him the piano at age seven, and Franz began composing in an elementary manner when he was eight and he appeared in concerts at Sopron and Pressburg in October and November 1820 at age 9. After the concerts, a group of wealthy sponsors offered to finance Franzs musical education in Vienna, There Liszt received piano lessons from Carl Czerny, who in his own youth had been a student of Beethoven and Hummel. He also received lessons in composition from Antonio Salieri, then director of the Viennese court. Liszts public debut in Vienna on December 1,1822, at a concert at the Landständischer Saal, was a great success and he was greeted in Austrian and Hungarian aristocratic circles and also met Beethoven and Schubert. In spring 1823, when his one-year leave of absence came to an end, Adam Liszt therefore took his leave of the Princes services. At the end of April 1823, the returned to Hungary for the last time. At the end of May 1823, the family went to Vienna again, towards the end of 1823 or early 1824, Liszts first composition to be published, his Variation on a Waltz by Diabelli, appeared as Variation 24 in Part II of Vaterländischer Künstlerverein. Liszts inclusion in the Diabelli project—he was described in it as an 11 year old boy, born in Hungary—was almost certainly at the instigation of Czerny, his teacher, Liszt was the only child composer in the anthology. After his fathers death in 1827, Liszt moved to Paris, to earn money, Liszt gave lessons in piano playing and composition, often from early morning until late at night. His students were scattered across the city and he often had to long distances. Because of this, he kept uncertain hours and also took up smoking, the following year he fell in love with one of his pupils, Caroline de Saint-Cricq, the daughter of Charles Xs minister of commerce, Pierre de Saint-Cricq. Her father, however, insisted that the affair be broken off, Liszt fell very ill, to the extent that an obituary notice was printed in a Paris newspaper, and he underwent a long period of religious doubts and pessimism. He again stated a wish to join the Church but was dissuaded this time by his mother and he had many discussions with the Abbé de Lamennais, who acted as his spiritual father, and also with Chrétien Urhan, a German-born violinist who introduced him to the Saint-Simonists

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Hungarians
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Hungarians, also known as Magyars, are a nation and ethnic group who speak Hungarian and are primarily associated with Hungary. There are around 13. 1–14.7 million Hungarians, of whom 8. 5–9.8 million live in todays Hungary, the Hungarians own ethnonym to denote themselves in the Early Middle Ages is uncertain. The Magyars/Hungarians probably belonged to the Onogur tribal alliance, and it is possible that they became its ethnic majority, in the Early Middle Ages the Hungarians had many names, including Ungherese, Ungar, and Hungarus. The H- prefix is an addition of Medieval Latin, another possible explanation comes from the Old Russian Yugra. It may refer to the Hungarians during a time when they dwelt east of the Ural Mountains along the borders of Europe. The Hungarian people refer to themselves by the demonym Magyar rather than Hungarian, Magyar is Finno-Ugric from the Old Hungarian mogyër. Magyar possibly derived from the name of the most prominent Hungarian tribe, the tribal name Megyer became Magyar in reference to the Hungarian people as a whole. Magyar may also derive from the Hunnic Muageris or Mugel, the Greek cognate of Tourkia was used by the scholar and Byzantine Emperor Constantine VII Porphyrogenitus in his De Administrando Imperio of c. AD950, though in his use, Turks always referred to Magyars, the historical Latin phrase Natio Hungarica had a wider meaning because it once referred to all nobles of the Kingdom of Hungary, regardless of their ethnicity. During the 4th millennium BC, the Uralic-speaking peoples who were living in the central, some dispersed towards the west and northwest and came into contact with Iranian speakers who were spreading northwards. From at least 2000 BC onwards, the Ugrian speakers became distinguished from the rest of the Uralic community, judging by evidence from burial mounds and settlement sites, they interacted with the Indo-Iranian Andronovo culture. In the 4th and 5th centuries AD, the Hungarians moved from the west of the Ural Mountains to the area between the southern Ural Mountains and the Volga River known as Bashkiria and Perm Krai. In the early 8th century, some of the Hungarians moved to the Don River to an area between the Volga, Don and the Seversky Donets rivers, meanwhile, the descendants of those Hungarians who stayed in Bashkiria remained there as late as 1241. The Hungarians around the Don River were subordinates of the Khazar khaganate and their neighbours were the archaeological Saltov Culture, i. e. Bulgars and the Alans, from whom they learned gardening, elements of cattle breeding and of agriculture. Tradition holds that the Hungarians were organized in a confederacy of seven tribes, the names of the seven tribes were, Jenő, Kér, Keszi, Kürt-Gyarmat, Megyer, Nyék, and Tarján. Around 830, a rebellion broke out in the Khazar khaganate, as a result, three Kabar tribes of the Khazars joined the Hungarians and moved to what the Hungarians call the Etelköz, the territory between the Carpathians and the Dnieper River. The Hungarians faced their first attack by the Pechenegs around 854, the new neighbours of the Hungarians were the Varangians and the eastern Slavs. In 895/896, under the leadership of Árpád, some Hungarians crossed the Carpathians, the tribe called Magyar was the leading tribe of the Hungarian alliance that conquered the centre of the basin

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Finno-Ugric peoples
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The four most numerous Finno-Ugric peoples are the Hungarians, Finns, Estonians and Mordvins. The first three of these have their own independent states – Hungary, Finland, and Estonia, the traditional area of the indigenous Sami people is in Northern Fenno-Scandinavia and the Kola Peninsula in Northwest Russia and is known as Sápmi. Some other Finno-Ugric peoples have autonomous republics in Russia, Karelians, Komi, Udmurts, Mari, khanty and Mansi peoples live in Khanty–Mansi Autonomous Okrug of Russia. Komi subgroup Komi-Permyaks used to live in Komi-Permyak Autonomous Okrug, Vladimir Lenin may have had Mordvin ancestry. There is a belief that President Vladimir Putin of Russia is potentially of Vepsian ancestry, a central concept in their cosmologies is the myth that the world was created from an egg. There are also myths about the Milky Way, ideas about the existence of the World tree or pillar, a myth about a bird floating on the primary ocean that dives for the ground is a central Uralic cosmogonic myth. In 2007, the 1st Festival of the Finno-Ugric Peoples was hosted by President Vladimir Putin of Russia, and visited by Finnish President, Tarja Halonen, north Eurasian Finno-Ugric-speaking populations were found to be genetically a heterogeneous group showing lower haplotype diversities compared to more southern populations. The proposal of a Finno-Ugric language family has led to the not just of an ancient Proto–Finno-Ugric people. Such hypotheses are based on the assumption that heredity can be traced though linguistic relatedness, however, Finno-Ugric has not been reconstructed linguistically, attempts to do so have been indistinguishable from Proto-Uralic. Like in any human population, individual groups within the Finno-Ugric language family have a diverse array of cultural, environmental. R1a1a7-M458 R1a1a7-M458 frequency peaks among Slavic and Finno-Ugric peoples, r1a1a1i This group seems to have connection with among others the Finno-Ugric peoples. It is the North-East European subclade of R1a1a1 and spread from the Baltic to the Ural Mountains as well as the Carpathian Basin, the majority of the Steppe Magyars likely belonged to this haplogroup, carrying the Ugric Hungarian language. Ananyino culture Comb Ceramic culture Dyakovo culture Samoyedic peoples Finno-Ugrian suicide hypothesis Mile Nedeljković, Leksikon naroda sveta, people of Volga and Uralic regions

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Turkic peoples
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The Turkic peoples are a collection of ethnic groups that live in central, eastern, northern, and western Asia as well as parts of eastern Europe. They speak languages belonging to the Turkic language family and they share, to varying degrees, certain cultural traits and historical backgrounds. The first known mention of the term Turk applied to a Turkic group was in reference to the Göktürks in the 6th century, a letter by Ishbara Qaghan to Emperor Wen of Sui in 585 described him as the Great Turk Khan. The Orhun inscriptions use the terms Turk and Turuk and this includes Chinese records Spring and Autumn Annals referring to a neighbouring people as Beidi. During the first century CE, Pomponius Mela refers to the Turcae in the north of the Sea of Azov. There are references to certain groups in antiquity whose names could be the form of Türk/Türük such as Togarma, Turukha/Turuška, Turukku. But the information gap is so substantial that we cannot firmly connect these ancient people to the modern Turks, turkologist András Róna-Tas posits that the term Turk could be rooted in the East Iranian Saka language or in Turkic. This etymological concept is related to Old Turkic word stems tür, türi-, törü. The earliest Turkic-speaking peoples identifiable in Chinese sources are the Dingling, Gekun, the Chinese Book of Zhou presents an etymology of the name Turk as derived from helmet, explaining that taken this name refers to the shape of the Altai Mountains. During the Middle Ages, various Turkic peoples of the Eurasian steppe were subsumed under the identity of the Scythians, between 400 CE and the 16th century, Byzantine sources use the name Σκύθαι in reference to twelve different Turkic peoples. However, the usage of the term is based on the linguistic classification in order to avoid any political sense. In short, the term Türki can be used for Türk or vice versa and it is generally agreed that the first Turkic people lived in a region extending from Central Asia to Siberia, with the majority of them living in China historically. Historically they were established after the 6th century BCE, the earliest separate Turkic peoples appeared on the peripheries of the late Xiongnu confederation about 200 BCE. Turkic people may be related to the Xiongnu, Dingling and Tiele people, according to the Book of Wei, the Tiele people were the remnants of the Chidi, the red Di people competing with the Jin in the Spring and Autumn period. Turkic tribes such as the Khazars and Pechenegs probably lived as nomads for many years before establishing the Turkic Khaganate or Göktürk Empire in the 6th century and these were herdsmen and nobles who were searching for new pastures and wealth. The first mention of Turks was in a Chinese text that mentioned trade between Turk tribes and the Sogdians along the Silk Road, the first recorded use of Turk as a political name appears as a 6th-century reference to the word pronounced in Modern Chinese as Tujue. The Ashina clan migrated from Li-jien to the Juan Juan seeking inclusion in their confederacy, the tribe were famed metalsmiths and were granted land near a mountain quarry which looked like a helmet, from which they were said to have gotten their name 突厥. A century later their power had increased such that they conquered the Juan Juan, Turkic peoples originally used their own alphabets, like Orkhon and Yenisey runiforms, and later the Uyghur alphabet

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Mari people
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The Mari are a Finno-Ugric ethnic group, who have traditionally lived along the Volga and Kama rivers in Russia. Almost half of Maris today live in the Mari El republic, in the past, the Mari have also been known as the Cheremis in Russian and the Çirmeş in Tatar. In the 2002 Russian census,604,298 people identified themselves as Mari, almost 60% of Mari lived in rural areas. The Mari have their own language, also called Mari, which is a member of the Uralic language family and it is written with a modified version of the Cyrillic alphabet. In the 2002 census,451,033 people stated that spoke the Mari language. Maris have traditionally practiced a pagan faith that closely connected the individual with nature, according to their beliefs, nature exerts a magical influence over people. They relate to it as a sacred, powerful, and living being outside of man cannot exist. Nature serves as a source of absolute good who always helps man as long as he does not harm or oppose it, the Mari native religion also possesses a pantheon of gods who reside in the heavens, the most important of whom is known as the Great White God. Other lesser gods include the god of fire and the god of wind, the Mari also believe in a number of half-men, half-gods who live on earth. The most revered of these is Chumbulat, or Chumbylat, a renowned leader, christianity was adopted by the Mari in the 16th century after their territory was incorporated into the Russian Empire during the reign of Ivan IV the Terrible. Pagans constitute a significant minority of 25 to 40% of the Mari, most Mari are members of the Russian Orthodox Church. Osteopetrosis affects 1 newborn out of every 20,000 to 250,000 worldwide, during the Soviet Era, the Mari Section was set up under the auspices of Narkomnats, the Peoples Commissariat for nationalities. Its task was to facilitate the union of the Mari people with other people, to abolish anti-Russian mistrust. In practice this involved facilitating grain requisitions by the Soviet state, the recruitment of soldiers for the Red Army, Mari people were generally dis-empowered by these changes. Since the fall of the Soviet Union, the situation in Mari El first improved, then declined to the point where the ethnic Mari people are undergoing forced Russification and cultural suppression. The ethnically Russian former Communist Head of State Leonid Markelov has led or allowed an attack on Mari culture. Under his leadership, the government ordered many Mari language newspapers to close, the Marla faith of the Mari people has encountered hostility as well. Vitaly Tanakov was charged with inciting religious, national, social, Mari people have responded to this pressure by organizing methods of cultural preservation and celebration, starting, for instance, a summer school to teach youth Mari language and culture

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Ethnomusicology
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Ethnomusicology is the study of music from the cultural and social aspects of the people who make it. Stated broadly, ethnomusicology may be described as an investigation of music in its cultural contexts. When the field first came into existence, it was limited to the study of non-Western music—in contrast to the study of Western art music. Over time, the definition broadened to study of all the musics of the world according to certain approaches. While there is not a single, authoritative definition for ethnomusicology, Musical fieldworkers often also collect recordings and contextual information about the music of interest. Thus, ethnomusicological studies do not rely on printed or manuscript sources as the source of epistemic authority. Oskar Kolberg is regarded as one of the earliest European ethnomusicologists as he first began collecting Polish folk songs in 1839, comparative musicology, the primary precursor to ethnomusicology, emerged in the late 19th century and early 20th century. The International Musical Society in Berlin in 1899 acted as one of the first centers for ethnomusicology, the International Council for Traditional Music and the Society for Ethnomusicology are the primary international academic organizations for advancing the discipline of ethnomusicology. Ethnomusicologists have offered varying definitions of the field, more specifically, scholars debate what constitutes ethnomusicology. Bruno Nettl distinguishes between discipline and field, believing ethnomusicology is the latter, there are multiple approaches to and challenges of the field. Some approaches reference musical areas like musical synthesis in Ghana while others emphasize a study of culture through the avenue of music, the multifaceted and dynamic approaches to ethnomusicology allude to how the field has evolved. The primary element that distinguishes ethnomusicology from musicology is the expectation that ethnomusicologists engage in sustained, there are many individuals and groups who can be connected to ethnomusicology. Ethnomusicology has evolved both in terminology and ideology since its inception in the late 19th century. While studying in Berlin at Frederick William University and attending the International Music Society, in his notes, he emphasized cultural and religious elements as well as social aspects of music and poetry. Inspired by these thoughts, many Western European nations began to transcribe and categorize music based on ethnicity, inspired by these thoughts, many Western European nations began to put many ethnic and cultural pieces of music onto paper and separate them. In 1956 the hyphen was removed with ideological intent to signify the discipline’s validity and these changes to the field’s name paralleled its internal shifts in ideological and intellectual emphasis. Kolinski also urged the field to move beyond ethnocentrism even as the term grew in popularity as a replacement for what was once described by comparative musicology. In the 1970s, ethnomusicology was becoming well known outside of the small circle of scholars who had founded and fostered the early development of the field

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Music of Mongolia
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Music is an integral part of Mongolian culture. Besides the traditional music, Western classical music and ballet flourished during the MPR, among the most popular forms of modern music in Mongolia are Western pop and rock genres and the mass songs, which are written by modern authors in a form of folk songs. This genre is called Long song because each syllable of text is extended for a long duration, a four-minute song may only consist of ten words. Lyrical themes vary depending on context, they can be philosophical, religious, romance, or celebratory, eastern Mongols typically use a morin khuur as accompaniment, sometimes with a type of indigenous flute named limbe. Oirat groups of the Western Mongols typically sing long songs unaccompanied or accompanied with the igil, the horse-head fiddle, or morin khuur, is a distinctively Mongolian instrument and is seen as a symbol of the country. There is some controversy regarding the traditional carving of a horse on the end of the pegbox. Some scholars believe that this is proof that the instrument was originally a shamanistic instrument, the staffs of shamans have a horse similarly carved on top, the horse is a much-revered animal in Mongolia. Other instruments used in Mongolian traditional music include shants, yoochin, khuuchir, yatga, everburee, khel khuur, tobshuur, ikh khuur, and bishhuur. Perhaps the best-known musical form of the Mongols is the singing tradition known as hoomii. In Mongolia, the most famous throat-singers include Khalkhas like Gereltsogt and Sundui and it was already known that the Qing Dynasty of China greatly valued Mongol court music and made it an integral part of its royal ceremonies, especially at feasts. Largely unknown outside of Mongolia, there is a popular music scene centred in the city of Ulaanbaatar. Actually, this is a mixture of kinds of popular music. It is often subdivided into pop, Rock, hip hop, hip hop/Rap has gained considerable popularity in Mongolia. From the early 1990s, Mongolian teenagers and youngsters formed dancing groups with anywhere between three and thirty members that started to compete in national tournaments and this was the beginning of the Mongolian hip hop movement. For some reason single rappers had never “made it” into the Mongolian hip hop scene, although, the Mongolian-Swedish rapper Battulga Munkhbayar, also known as The yellow Eminem and 50 öre, has made it to the big stages in Sweden, because of his unique rap style. Early bands include Har Tas and MC Boys, the later two groups represented the beginning of rap in Mongolia. Their songs mostly stressed on social issues, philosophy and rebellious ideas, a later generation consisted of bands like Dain Ba Enkh,2 Khüü, Erkh-Chölöö, Lumino, Mon-Ta-Rap, Ice Top, Odko, Gee, Quiza, B. A. T and URMC. Classic singers from the late 20th and early 21st centuries include Vandan and Dulamsüren, Batsükh, Tömörkhuyag, some of the repeatedly heard lyrical themes are very distinctive for Mongolia, heartfelt tributes to the songwriters mother, for example, or paeans to great horses